Saving Private Ryan is best known for its first thirty minute opening which is one of the most brutal depictions of combat ever put on film. Elements of Capt. Miller’s (Hanks) battalion prepare for the assault on Omaha Beach on the fateful morning of June 6, 1944. While the assault force approaches the Normandy coast aboard the landing craft, each man is preparing themselves for the inevitable. Many men are seasick, while many pray silently to themselves.

The operator of the boat alerts them that they will hit the beach in just thirty seconds. Miller instructs his men to move fast and to clear the “murder hole” (the opening of the craft). When the ramp hits, you are immediately plunged into the intense combat. Rows of men are cut down from German machine gun fire before they can even leave the craft. Other men are instructed to jump over the sides, only to drown due to the amount of heavy equipment many troops carried into combat.

Miller helps a fellow soldier ashore while they make their way through the maze of anti-tank traps and dead bodies at the water’s edge. The camera is submerged under the water, and then surfaces. The use of sound in this scene is fantastic. When submerged, the scene is tranquil and peaceful but when on the surface, you are subjected to the sound of machine gun fire, explosions, and bullet ricochets off of men and the tank traps that were placed to keep American armored vehicles from reaching the beach.

This week’s pick salutes the heroes of a forgotten American war, The Spanish American War which until the First Gulf War, was the shortest war in American history. John Milius (Red Dawn, Flight of the Intruder, The Wind and the Lion), directs Rough Riders, which stars Tom Berenger as future American president Teddy Roosevelt who commanded the 1st U.S. Volunteer Cavalry unit during the war.

Originally aired as a three hour mini series in 1997 on TNT Networks, the film is a fantastic look at the men who made history against Spanish hegemony in 1898 Cuba. The film stars a who’s who of great actors and characters who would help to shape history. Gary Busey (Maj. Gen. Joe Wheeler) commander of all cavalry units during the war, and a U.S. Congressman as well, Brian Keith (President William McKinley), Dale Dye (Col. Leonard Wood) Marshall R. Teague (Lt. John “Black Jack” Pershing), and Adam Storke (Stephen Crane).

As the United States was entering the twentieth century, its presence on the world stage was beginning to take hold. The Spanish American War was what allowed the U.S. to become a major player in world events, and allowed the U.S. to forever wield the “Big Stick” of foreign policy. The film opens up with a brilliant montage of newspaper headlines which depict the defenseless Cubans battling their Spanish masters, while Uncle Sam looks on with a sense of anger and an overwhelming desire to help the oppressed.

The Great Escape (1963) is one of those films that no matter how many times I see it, I find a new way to appreciate it even more. Director John Sturges (Never So Few, The Magnificent Seven) brings to the screen this World War II adventure about allied soldiers who stage one of the greatest massive escapes from a new type of German POW camp.

The German Luftwaffe (Air Force) has created a new type of POW camp in which “all their rotten eggs” can be placed in one heavily guarded basket. Allied POWs have been gathered from all stockades in Germany and are brought to Stalag Luft III outside of Sagan, Germany. The new camp commandant, Col. von Luger (Hannes Messemer) informs the new prisoners that there will be no escape attempts and if any try they will be executed. The senior allied officer, Group Captain Ramsey (James Donald) tells the commandant that it is the sworn duty of every prisoner to try and escape.

Von Luger feels comfortable that the new facility will make it impossible for any to escape. Within the first few minutes of arriving in the camp, the main characters begin probing for weaknesses among the camp’s guards, the wire, and the conning towers which overlook everyone and everything within the camp. Several make attempts to try and escape but are quickly discovered and prove to be a handful for their captors.

The most notable of these attempts is perpetrated by Capt Hilts (McQueen), an American flier who throws his baseball over the “wire of death” which is erected in front of the camp perimeter fence. Hilts informs one of his fellow American inmates that between the two towers at night, makes it almost impossible for them to see someone trying to cut through the fence. He is discovered by one guard and is shot at by another in one of the towers.

This week’s pick is legendary filmmaker and pioneer of balletic death scenes Sam Peckinpah’s 1977 production of Cross of Iron. The film stars James Coburn (in one of his finest performances, and as one of Peckinpah’s go-to-actors) as Sgt. Rolf Steiner, a tough German soldier stationed on the Eastern Front in 1943 as the German army was being pushed back by the advancing Soviets.

Steiner is in command of a small squad who are attached to the main German column who are retreating from the Taman peninsula on the Black Sea coast following the German defeat at Stalingrad (one year earlier), which turned the tide of the war in the east. The story is that of conflict between Steiner and a new company commander Captain Stransky (Maximilian Schell), a Prussian aristocrat who covets the famed Iron Cross which is one of the highest awards given to a German soldier.

Cross of Iron was Peckinpah’s only war film that shows the audience the kind of war that was being fought on the Eastern Front, and that it was the last place a German soldier wanted to go. Steiner (Coburn) is tired of war and has very little respect for those in charge. When Stransky reports to his new commander, Colonel Brandt (played by veteran British actor James Mason), he tells the Colonel that he applied for a transfer from occupied France to the Eastern Front in order to win the Iron Cross.

The Colonel’s adjutant, Captain Kiesel (the great character actor David Warner) who is also sick of war and military politics, scoffs at Stransky and his naive outlook. Steiner is introduced to Stransky who is told of his exploits. Stransky promotes Steiner to Staff Sgt. in order to curry favor. Steiner shows overt contempt and little appreciation for Stransky as a German officer. To Steiner, Stransky is the real enemy with false notions of heroism and bravery.